Various Artists ‘EPM 10’

Various Artists / ‘EPM 10’


EPM / Released March 8th 2011

After ten years in the game the folks at EPM decided to set up a label. Finally the first release has arrived, as we’ve been looking forward to it for some time. So, how have the debutants done?

Well, firstly, let’s set the record straight. A first album this may be, but the characters coming together to form the tracklist are experienced to say the least. That’s why Alexander Robotnick’s Running About kicks in with such authority, power-chords on full blast to space. A commanding entrance to say the least, and one that’s mirrored in the second instalment, courtesy of Detroit Grand Pubahs, here making people who thought they were all about Sandwiches understand exactly why they still represent the Motor City. Strings strain above an electro bassline equal parts fear and party, aptly titled Civil War 2013.

You could say it’s not long before the bombs start dropping, but as we’ve already highlighted, the explosions begin from the word go. Meaning by the time Robert Hood arrives in his Floorplan guise we’re well and truly off. As those who research will know, this alias of the techno pioneer is more focused on Tiny Dancer type disco-jack than solid stripped futurism, with this example, Move It, matching the remit perfectly. Pianos retain a classic hook, while hats flare up and ease down, before crunching snares are added to cap things off with a funk-tinged edge (abetted by a few ‘whoop’ stabs).

And while there are new school pickings abound here, RadioNasty- the combination of Billy Nasty and Radioactiveman- add to the argument that veteran’s do it better. Some serious electro-breaks step out, partnered with an expansive low end to create something fans of DMX Krew will no doubt greet with some passion. And, elsewhere, Mark Broom and James Ruskin continue their successful partnership with the building, sinister and wholly mechanical staccato number, Merz, fans of early M_nus should take note.

Onto more current horizons, and Marius offers something in contrast to the overall rough-tough warehouse vibe smeared over this album. Think classic house keys, violin crescendos and a disco-tinged undercurrent that wouldn’t sound too out of place being linked to Audio Soul Project, with less cannabis involved. We could go on to mention Sandwell District’s Live In Berlin, a nothing number that’s sure to cause some devastation in its namesake town, and elsewhere, while Wiggle showcases Orlando Voorn at his most essential, edgy best. But we’ve already said too much, so just check it out for yourselves.